Abstract
The main objective of this study is to review the position of post-socialist artists in the current (global) system of art, as well as opportunities for their universal action in the local context. The paper deals with a need to analyze the impact of various contemporary and media art procedures and techniques in relation to the dominant postmodern expression of post-socialist artists, and seeks answers to the question why their work was generally characterized by art theorists as a simulation, unhistorical and traumatic? The reason for this research is the recent Unicredit award at the 54th Biennial of Contemporary Art in Venice, for this year's representative of Serbia, Dragoljub Raša Todosijević, who was by accident or on purpose, taken here as a paradigm of postsocialist artists.
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